Anyone who fancies himself a thinker, I suppose, should have the experience of mixing his ideas with his labor; particularly is this true in the case of American musical intellectuals, beset as they are by the difficulties of bringing the strengths and weaknesses of the New World to the already existing corpus of European masterpieces. In all the different ways I have worked in music, I have been conscious of the peculiar problems associated with being an American musician. This was true when I was solely a performer. It remained true when, in early middle life, I became a critic. Now, in my fifties, when I am also what is so nicely called an artistic administrator, I find my awareness of this problem taking up a good deal of my thought.

As a musician I have played the piano. As a critic I have judged the compositions and performances of others. As an administrator I have been deciding what music...


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